This landscape series presents layered peaks and drifting clouds, paying homage to the "lofty distance" ideal of classical Chinese painting; bone-like rocks, focusing on their textures and structural forms; and waterfalls, lake reflections, and the lake surface itself, distilling natural phenomena into pure ink-rhythm symbols. The series asks: when the camera becomes a "brush" and light and shadow become "ink," can photography carry the Eastern philosophy of "the idea precedes the brush"? Each frame is a subtraction of "form" and an approach toward "spirit."
